Effective January 4, 2022, requiring the use of the enhanced vaccine certificate with QR code and the Verify Ontario app in settings where proof of vaccination is required. The QR code can be used digitally or by printing a paper copy. Individuals can download their enhanced certificate with QR code by visiting https://covid-19.ontario.ca/book-vaccine/.
Please be advised that proof of vaccination, for anyone over the age of 12, will be required for all events, workshops, seminars facility rentals and classes. Individuals visiting gallery exhibitions are not required to provide proof of vaccination at this time.
Now more than ever, art can help lift our spirits and support our well-being. Stay connected with the Public Art Centre at home with our online activities, exhibitions and explore your local artists. Visit our Access to Art online art education page for great programs and activities.
XOXO, draws upon the Public Art Centre’s diverse permanent collection to explore the theme of love in art, and the changing representations of this complex emotion.
While popular conceptions of love tend frequently to focus upon romantic love, XOXO explores love’s varied manifestations across the realms of human experience, including familial relationships, friendship, and nostalgia. The exhibition presents depictions of love’s many variations in painting, sculpture, prints and drawings.
Hugues de Jouvancourt (1918 - 1998) Flames of Love, 1973, Original serigraphs (silk-screen)
"The following images are complied from the book of selected poems with illustrations by Hugues de Jouvancourt. This volume pays tribute to the beauty and grace of young Canadian girls. We would like to thank the kind young ladies, who by posing for the artist, enabled him to carry out illustrations for this book."
It was taken from this fifty original editions five copies each containing twenty two serigraphs by Hugues de Jouvancourt, specially executed for this book. 10 copies on Japan Carlyle, letters from A T. containing the serigraphs in their challenging state in black, and a continuation of the serigraphs printed in sepia. 45 copies on Japan Carlye, numbered from 1 to 45, including the serigraphs in their final state in black. The text composed by hand in Eusebius 30p be the typography D.B. Inc. was printed by printer Rie Pierre des Morais Inc. - were drawn by Michel Lancelot and his collaborators, from the presses of the Graft Workshops. The implementation of the volume is by H. de Jouvancourt. All the drawing are signed and each copy of the book are signed by the artists.
AUTHORS P. DE RONSARD
SIR E. DYER
E . SPENSER
V. DE LA FRESNAYE
F. DE MALHERBE W. SHAKESPEARE
F . MAYNARD T. CAREW
C . DE MALLEVILLE - R
At a community event in late February, the studio at the Public Art Centre was converted from a classroom to a lounge. It featured local art, music and yes, a whisky bar! Looking back, the evening takes on special significance, but even at the time there was a unique energy in the space, the kind of energy that occurs when creativity and community come together.
Thank you to:
artist: Laura Woermke Artist
musicians: THA KOALA, The Winter Blues, The Shangles
Artists choose landscapes as their subjects for many reasons. Their desire to represent its understandable splendor, some artists choose to study and explore various appealing elements, like light, color, and texture and other use the landscape to tell a story, a narrative, to illustrate an idea or conceptualize a metaphor. The permanent collection holds many wonderful examples of historic and realistic depictions of landscape paintings, but lets take a closer look at those who push past the traditional depictions and use text as an element.
The following artworks were selected because the artist not only depicts the idea of the landscape but their use of text. Although text is all around us, on magazine covers, cereal boxes, street signs and billboards, we rarely think of it as an element of art. Yet each letter can have shape and colour and, if the words were void of meaning, would be ideal for creating abstract work. The addition of meaning adds another level of depth to using text as an element that can not be created by shape and color alone.
Since humans first illuminated bands of rain and lightning on the inner walls of their cave homes, artists have been absorbed with illustrating our physical environment. Yet, for centuries, the environment's form in art was meant to be read either as wonder for our natural world, or as a background subject for the documentation of human stories. In the 20th century, together with rising global concerns surrounding the state of the earth's health, and our impact as humans upon it, many artists use this concern to create images that will drawn attention to the ecological issues and will as our relationship and contribution to them. Stanley Lewis was one such artists, with his simple depictions of humans and environment produced with limited colours and forms. This straightforward technique allows for the simple message to be delivered to the viewer. Below you will find some examples of his work from the permanent collection.
While we are experiencing a time of social distancing or self-isolation, it is typically the destiny of the artist to work alone. The themes of loneliness, isolation and estrangement frequently arise in their artwork providing us with an opportunity to contemplate and interpret and with complete understanding. The Following selections are some examples from the permanent collection that we think perfectly express solitude, and isolation.
Merle "Ting" Tingley
(1922-2017) was a Canadian Cartoonist who was the main editorial coartoonist for the London Free Press (ontario), from 1948 to 1986 as well as being syndicated for 60 other publications as well.
In World War II, Tingley was the official cartoonist for the Canadian Army magazine, Khaki, and a contributor for the overseas army newspaper, The Maple Leaf. After his discharge, Tingley toured the country on his motorcycle hoping to find work as a cartoonist only to have the various newspapers in applied at turn him down. When Tingley reached London, Ontario, he was out of funds and had to gain a menial job at the London Free Press with a friend's help. However, Tingley's fortunes improved when an editor on that paper noticed a cartoon Tingley drew of the mayor during the municipal election. The editor was impressed enough with that work to arrange to have Tingley become the resident editorial cartoonist.
Tingley's mascot was a worm character called Luke Worm who usually was present in each of his cartoons.
Tingley's honours include the National Newspaper Award for editorial cartooning in 1955, National Headliner Award for Editorial Cartoon year for 1965 and induction into the Canadian Cartoonist Hall of Fame in 2015. In addition, collections of his work are stored at the University of Western Ontario, the St. Thomas-Elgin Public Art Centre and at Library and Archives Canada in Ottawa.
After his retirement in 1986, his artistic contributions have been commemorated since 2014 in the Ting Comic And Graphic Arts Festival in London, Ontario. It is an annual three week arts festival at The TAP Centre for Creativity devoted to cartooning and sequential art which includes gallery displays of various local Canadian artists including selections of Tingley's art, as well as various activities devoted to the medium and is scheduled to conclude with the annual Free Comic Book Day event.
The following images are a few examples of the 117 original art works in the St. Thomas-Elgin Public Art Centre's permanent collection.